Aurtistic Endeavors

Bartek Gawel, CDPR’s art director, shares some insight on the importance of head construction for successful character design.

The secret to a good character concept is its head. Not to brag about the eyes as the mirrors of the soul or the number of emotions a human face can express let’s just get on with it. Because it’s all in the head – believe me.

Any to-be concept artist will have to learn sooner or later how to draw a good face. I decided to take my time and start this little tutorial and share the knowledge, that was gathered by artists and human body experts (scientists to be precise) throughout the ages.

In this episode I’ll write a little bit about the first principal which defines the look and character of the head you are designing. Today I will write about the facial angle.

The most important element you will need while constructing the head is the middle of the ear. This is represented by the red dot on the illustration above.

A line crossing this point and perpendicular to the horizon helps us find the beginning of the neck i.e. the place where the neck meets the chest (point A). Traditional sculptors use a special pendulum to find the correct line. It’s good if you have an aprentice of any kind to hold it for you, while you’re busy with your work.

The models character is determined by the so called facial angle. This concept was used for the first time in the 18th Century by Petrus Camper, a Dutch anthropologist, scientist and sculptor. He introduced a constant head position based upon a line drawn from the middle of the ear (red dot) to the septum (the red line). The second line needed to create the face angle is drawn from the forehead surface with the jaw (yellow line). This angle can have different rays and be even right.

Determining the facial angle allows you to have a base for further head construction and influences the look of the model on an early stage, before you start outlining other elements (e.g. a nose).

[blog post]

interesting:/

eyecager: Disneyland - 4.25 Excerpt - An Adventure in Art ”...

Sun, 16 Jun 2013 18:02:11 -0400

eyecager:

Disneyland - 4.25 Excerpt - An Adventure in Art

” Disney explains the importance of an artist’s individual style, but also how each member of the team must set aside his personal vision to match the style of the studio production.

Later in the video, Marc Davis, Eyvind Earle, Walter Peregoy, and Joshua Meador, go outdoors to paint a live oak, each one in a different style, each one explaining his intentions. Some paint squatting on the ground with their canvases propped awkwardly on rocks. At 9:29, Eyvind Earle shows how he mixes his caseins in cups. Meador uses highly flammable lighter fluid with his oil paint. Glad he’s not smoking!”
- James Gurney

Thanks to Daniel Warren who got it from Sickbrush who got it from James Gurney’s awesome blog

art-of-kenesu: danschkade: axelssonkatt: spectigular: “The...

Sun, 16 Jun 2013 17:41:27 -0400

art-of-kenesu:

danschkade:

axelssonkatt:

spectigular:

“The Count of Monte Cristo” and others
by Mead Schaeffer, American Golden Era illustrator.

I would kill to be able to paint like this. Such great use of color and value.

I…

was not informed of this man.

—-

My sentiments exactly. This is art that I want on my walls and it certainly has aspects that I would love to incorporate into my work. It has a “Rockwell meets Pulp” feeling to it.

- Kenny

twudle: For people curious about my settings 1. I use the brush...

Sun, 16 Jun 2013 14:01:31 -0400

twudle:

For people curious about my settings

1. I use the brush tool for almost everything, even for lineart. Easy for rough sketching.

2. Blending, works better with a texture thrown in.

3. Flat brush gets you a semi painterly look, wonderful for laying down color and whatnot.

4. Overlay abuse, I actually do most of my color blending with them haha

Brushes downloaded from here I believe

theartofanimation: Luis Melo

Sun, 16 Jun 2013 10:01:10 -0400

theartofanimation:

Luis Melo

theartofanimation: Sina Pakzad Kasra

Sat, 15 Jun 2013 18:02:14 -0400

theartofanimation:

Sina Pakzad Kasra

cruisingwithgunhead: villar-perosa: AFRICAAAAAA Missing the...

Sat, 15 Jun 2013 14:01:34 -0400

cruisingwithgunhead:

villar-perosa:

AFRICAAAAAA

Missing the NTW-20 and PAW-20 Neopup.

know your stuff:D

theartofanimation: Reynan Sanchez

Sat, 15 Jun 2013 10:01:13 -0400

theartofanimation:

Reynan Sanchez

theartofanimation: David S. Hong

Fri, 14 Jun 2013 10:01:13 -0400

theartofanimation:

David S. Hong

bassman5911: BLAST from the Past concept art by...

Thu, 13 Jun 2013 10:01:32 -0400

bassman5911:

BLAST from the Past concept art by calumalexanderwatt

lovely character designs^-^

norisus: I also use this same method for painting fur like...

Thu, 13 Jun 2013 04:00:41 -0400

norisus:

I also use this same method for painting fur like this

EDIT: I also usually use the 4th nib but accidentally used the 3rd for this

loish: process of this commissioned piece

Tue, 11 Jun 2013 18:02:06 -0400

loish:

process of this commissioned piece

xombiedirge: Selina - Catwoman Racer by Otto Schmidt

Tue, 11 Jun 2013 14:35:00 -0400

xombiedirge:

Selina - Catwoman Racer by Otto Schmidt

theartofanimation: Thierry Doizon

Mon, 10 Jun 2013 10:01:01 -0400

theartofanimation:

Thierry Doizon

jahsonic: Der Doctor Schnabel von Rom[1] (1656) is the title of...

Sun, 09 Jun 2013 18:02:12 -0400

jahsonic:

Der Doctor Schnabel von Rom[1] (1656) is the title of an engraving by Paul Fürst.

The German title translates as (“Doctor Beak of Rome”) and depicts a man in a plague doctor costume. The engraving features a satirical Latin/German macaronic poem (‘Vos Creditis, als eine Fabel, / quod scribitur vom Doctor Schnabel’) roughly meaning “funny tale is disclosed, / by a doctor with big nose.”

so many fonts, i never know what i might need._.